在世界上众多著名的艺术博物馆中，波士顿美术馆的历史相当短暂，迄今也就一百多年。但就是这短短的一百多年的发展，波士顿美术馆一跃成为美国最负盛名的艺术博物馆之一，特别是东方艺术品的收藏在西方各大艺术博物馆中也是名列前茅的。在美国不算漫长的国家历史中，波士顿算是一个文化名城，与喧嚣的纽约相比，它显得古朴而宁静，著名的哈佛大学、麻省理工学院和波士顿大学都坐落在市里，更为它增添了历史的悠远感和书卷气。1909年后，随着新馆艺术品陈列大规模的改进，波士顿美术馆每一个部门都有了非常丰富的收藏，亚洲部的收藏在世界上首屈一指。经过几代美术馆专家的充满智慧的辛勤工作和几代收藏家的热情捐赠，波士顿美术馆已成为欧美著名的艺术博物馆之一。

《噪音太多》是梁文道的文化艺术随笔集，显现的却是一个私家知识分子的轨迹。纯粹音乐怎么听、电光幻影怎么迷、电视末日到了吗，都是私家偏好。随口道破，妙论横生，个人性情跃然纸上。但是，其公共关怀又无处不在，比如，娱乐到底是什么。梁文道一向被称为公共知识分子，是典型的杂家。

被誉为是继达利及毕加索后另一位前卫艺术界名人“波普艺术”之父安迪·沃霍尔给20世纪留下了不可磨灭的印记……本记录片作为向这位“偶像”人物致敬的作品，特别展现出他的“私”生活中未经剪辑的影象，以及丰富的档案资料，包括有他的好友和乐队：“地下丝绒”、”滚石“主唱米克·杰格、“变色龙”大卫·鲍伊、美国作家著名作家杜鲁门·卡波特等等……

City streets abound with billboards, posters, and corporate advertising that almost invite a subversive response ...and increasingly are getting one. Many of today's graffiti artists have adopted the stencil and spray can, and are using the street as a giant creative forum for their arresting artwork. "The image," says San Diego artist Shepard Fairey, "is integrated with the texture of the street." This book showcases the work of the originators, the innovators, and the new generation who, as UK artist Nylon puts it, are "breathing life into derelict spaces." Stencil graffiti is beginning to filter off the street too, as artists are inspired to use stencils on canvas, clothing, and metal. Tristan Manco has chosen over 400 of the most visually exuberant, subtle, and creative examples of the genre from cities all over the world. With subject matter ranging from the political to the poetic, from the funky to the frankly curious, stencil graffiti is graphic innovation on an international scale. Inspirational in form and content, this book is an essential record for everyone with an interest in design or in contemporary urban culture. 405 illustrations, 400 in color.

Crying Men is a series of photographic portraits of famous film actors: Tim Roth, Gabriel Byrne, Laurence Fishburne, Woody Harrelson, Michael Gambon, Jude Law, Hayden Christiansen, Ryan Gosling, Robert Downey Jr., Paul Newman, Ed Harris, Benicio Del Toro, Willem Dafoe, Kris Kristofferson, and others. Sam Taylor-Wood makes portraits of her subjects as actors; she shoots them in character, asking each to perform and cry for the camera, and demanding their investment in the process. These are no passive sitters. Each of the resulting images is distinct; one actor recalls the hieratic clarity of a Byzantine saint whose tears appear decorative. Other images are of heroic crying, where stoic restraint has broken down. Some display the voluptuous crying of medieval saints, others cathartic crying or quiet tears of regret and grief. Yet while being moved by these intimate revelatory images, we simultaneously know that the emotional display is being play-acted. Sam Taylor-Wood's film and photographic works are distinguished by their subversive creation of enigmatic situations full of latent but explosive energy. Clothbound, 11.75 x 15 in. / 56 pgs / 24 color.

Shoot yourself: Sexy self-portraits by everyday women
Inspired by a babysitter he surprised in front of the bathroom mirror shooting pictures of herself with his Polaroid, photographer Uwe Ommer decided to put together a book of erotic self-portraits by inexperienced photographers. Arming participants with cameras and basic technical instructions, Ommer asked them to photograph themselves in any way they pleased--liberated, so to speak, from the voyeuristic eye of the photographer. Some chose to use mirrors as they captured their portraits, while others braved the camera without the help of their reflections. While many subjects required no intervention by Ommer, for others he acted as "ghost photographer," helping them with the lighting and setup; in both cases, the models were free to indulge their inspirations in any ways they pleased--from sexy and provocative to romantic to simply being themselves. The cast of self-portraitists includes a wide range of personalities, from students to artists, actors, stylists, dancers, models, musicians, teachers, and more. This highly original book gives us a rare glimpse at the way everyday women see themselves--or wish they did.

像你我一样呼吸：一个世纪的摄影传奇，ISBN：9787807400721，作者：顾铮 著

作者在这部《摄影简史》里直接切入摄影师和作品。它不是对时间、事件、人物的全纪录，而是一部关于摄影史的简单评论。它解释了我们判定一张照征好坏的依据，用摄影的方式记录画面有什么特殊之处，一张照片的精华在哪里，以及摄影与其他艺术形式的关系。借助于从摄影之父福克斯·塔尔伯特到当代摄影大师的范例，这种出色的研究为人们在评论方面提供了指南。

如果說我們今天還在靠理想(而不是某種現實指標)支撐著往前走，那麼這種理想恰恰是由那個荒蕪年代培植起來的。“我們這一代”中有很多人幹著本不屬於自己幹的事，在70年代後那些熱情高漲的年月裏，我們每個人都作出了種種努力，有時也患下一些可愛的幼稚病，每一次不同的面孔上都毫不掩飾地透現出充滿希望的鎮定和安詳。如果說肖全留下了“我們這一代”最好的照片，毋寧說肖全留下了“我們這一代”最好的記憶

Aimed at professionals and beginners alike: the first systematic attempt to find out how photographers of world stature approach their work, and what it is that makes them succeed.
This essential new guide to photography draws upon in-depth interviews with established photographers from the fields of fashion, art, portraiture, documentary photography, and advertising as well as comments from picture editors, curators, agency directors, and publishers who reveal what they look for when choosing an image.
The book first focuses on photographers' working practices, from how Mario Sorrenti got the inspiration to photograph a naked Kate Moss draped over a couch for the iconic Calvin Klein campaign to how the Dutch portrait photographer Rineke Dijkstra gets the best out of her subjects. What made the photographer start taking pictures? How did he or she develop a signature style? What is the process involved in going from concept to shoot? How important is postproduction?
Then the book turns to selection. How does the picture editor of the New York Times Magazine decide which photographer to commission for the next fashion spread? What kind of photograph, according to the Senior Curator of London's Photographers Gallery, is worthy of being hung in a gallery? What advice would art book publisher Gerhard Steidl give a budding photographer? Whether it is the question of what to look for in an image, views on cropping, or the pros and cons of color versus black and white, the shapers of taste give acute and useful accounts of their methods. 150+ illustrations in color and black and white.

Thomas Struth (born 1954) began his career making cityscapes, jungles and portraits. In the 1980s, after a meeting with psychoanalyst Inge Hartmann, he branched into portraiture. This book presents a selection of Struth's solo and group portraits from the 1990s.

Seeing so many celebrity photographs from the beginning of Ms. Leibovitz's career unveils many of the most effective methods that she uses to create her deep insights into the subject of the portrait. Although you may feel the subtlety of her work viscerally, these comparisons make it easier to appreciate the purposefulness of how the effects are brilliantly captured. If you are like me, this book will enhance your already deep appreciation of her work.
Before going into all the reasons I like this book, let me mention that the book contains tasteful nudity and sexual situations that would probably cause an R rating for a motion picture (or possibly something a bit stronger, like an R plus). Many parents would be uncomfortable with some of their children seeing these images. So judge the appropriateness of this wonderful book for your own family.
First, Ms. Leibovitz is looking for the soul of the person. Who are they at the core? This is captured by establishing a composition that overtly expresses this inner kernel of truth. For Roseanne Barr and Tom Arnold, this is captured by mud wrestling. For Muhammad Ali, you see a fully confident, capable man fully comfortable with himself and the world.
Second, she captures the subject's personality with posing and expression within the composition. Whoopi Goldberg's playfulness is captured by a composition that has little bits of her beautiful blackness emerging from a milk bath, with a characteristicly wry, happy smile.
Third, she shows the social mask that the subject uses. Lily Tomlin's face poses behind a television set image. Diane Keaton is shown wandering around with her face averted from the camera to capture her preference for privacy and appearance of shyness. Keith Haring appears wearing nothing but his painted on designs.
Fourth, she connects her subject to another person where that helps to establish part of the person's reality. John Lennon appears in foetal position with Yoko Ono, in that famous image from this book's cover. The Rolling Stones are literally flying through the air at the same time while performing. The Grateful Dead are asleep on each other's shoulders. Interestingly, she is usually able to do this with a humorous, light touch that dispells some of the celebrity power of the person.
Fifth, she lets a little slip in composure or a little blemish show where that adds to the underlying reality. Louis Armstrong looks scared in one classic portrait pose, while totally relaxed and in control in a less formal setting. Mick Jagger's partially healed scar is shown in another image. Jodie Foster puts on an intelligent expression that shows the Yale graduate rather than the young female star.
Sixth, she captures motion in ways that give the kinesthetics of the person and situation wonderfully. For example, a group of prisoners and family members hug at Soledad Prison in California at Christmas in 1971. You see many different relationships in this one image. It's like a microcosm of all humanity.
Here are my favorite images:
John Lennon, New York City, 1970
Louis Armstrong, Queens, New York, 1971
Christmas, 1971, Soledad Prison, California
The Grateful Dead, San Rafael, California, 1971
Ray Charles, San Francisco, 1972
Lily Tomlin, Los Angeles, 1973
Richard Pryor, Los Angeles, 1974
Andy Warhol, New York City, 1976
Tennessee Williams, Key West, Florida, 1974
Ron Kovic, Santa Monica, California, 1973
The Rolling Stones, Philadelphia, 1975
Brian Wilson, Malibu, California, 1976
Muhammad Ali, Chicago, 1978
Robert Penn Warren, Fairfield, Connecticut, 1980
John Lennon and Yoko Ono, New York City, December 8, 1981
Greg Louganis, Los Angeles, 1984
Bruce Springsteen, Asbury Park, New Jersey, 1987
Whoopi Goldberg, Berkeley, California, 1984
Twyla Tharp, New York City, 1989
Michael Jackson, Los Angeles, 1989
Mikhail Baryshnikov, New York City, 1989
After you have enjoyed the book, I suggest that you make a drawing that does a similar unveiling of someone you know well. You might even consider a self-portrait. Ms. Leibovitz says those are the hardest to do.
Look deeply into those all around you and see the truth . . . as well as the fictions.

1994年2月一个阴郁寒冷的早上，两名窃贼潜进了挪威奥斯陆国立美术馆，轻易地窃走了价值七千两百万的挪威国宝——蒙克的《呐喊》。窃贼料准了这天早上是当年冬季奥运开幕的日子，全世界的焦点都放在奥运上，只花了两分钟，两名窃贼便载着蒙克的这幅巨作扬长而去。
窃贼并没有用到什么高科技手法，但挪威警方束手无策，只好请来号称全世界最伟大的艺术品侦探、英美混血的苏格兰场秘密警探查理希尔。此君个性张扬，胆大妄为，活脱脱一个从侦探小说中走出来的人物，而可疑的嫌犯也举目皆是，既有富甲一方的贵族，也有曾偷窃过伦勃朗名画的肖小。
凭着一支生花妙笔，爱德华·多尔尼克将这个案件写得有如一本侦探小说，暴露了艺术界不为人知的黑暗面。书中穿插了许多艺术界的奇闻轶事，介绍了历史上有名的艺术窃案与窃贼，以及世界上许多悬而未决的博物馆窃案。

Le récit d'un homme face à ses peurs : Samuel Darko entreprend un long voyage pour retrouver Alice qui souhaitait un enfant. Au cours de son périple, il apprend à se connaître et à comprendre ce dont il a réellement peur.

A poetic treatment which includes the artist painting on glass while facing the camera, shot at Picasso's home in Vallauris, accompanied by some fairly moody organ music in this very dark, but captivating film. The artist here takes on the character of an eminence-grise, an alchemist engulfed in the "sol y sombra" of his laboratory-studio, filmed in gorgeous black and white.